EDITORIAL: Re: promoting our culture (02/25/96)

EDITORIAL

Re: promoting our culture

Veryovka, originally billed inadequately as the "Ukrainian National Dance Company" and later identified properly as a choral and dance company, began a three-month tour of the United States and Canada on January 11. Some comments about the way the ensemble was presented are in order.

Right from the start, it should be pointed out, information on the troupe's schedule was difficult to obtain - not something one would expect from a noted professional management company like Columbia Artists Management, Inc., which could not provide The Weekly with a complete itinerary. Getting advance information about the program proved difficult as well.

Columbia was the principal U.S. promoter, but locally there were various other publicity agents, promoters, etc. From what we've seen of the press releases and programs, we have reason to be displeased. First, there is the issue of releases and background information in programs replete with "the Ukraine." Then there is the matter - no small issue - of transliteration into English of names, place names and titles. This was done from the Russian language, not Ukrainian. Thus, we have the "Dnepr," not the Dnipro River; the "Kasatchok" not the "Kozachok" dance.

And then there were some real gems in the descriptions of program selections. Here are some examples: "The Fern is Blooming": "...Young girls used to sing and dance around the fern during festivities on Yanka Kupala's [sic] holiday." "Cossack's Song" : "This song describes how St. Virgin Maria [sic] saved the cathedral from Turkish and Tartar [sic] invasion."

One program's notes described three different numbers as "Ukrainian traditional music"; how absurd for a Hutsul dance and the ever-popular Hopak to bear the same exact description. Meanwhile, another program listed "Turtle Dove" as a "Guzul Dance" (whatever that is). Obviously, no attempt was made to refer to various regions of Ukraine, if only to explain why the colorful costumes were different from dance to dance. Consider also the issue of "bilyi holos," a genre of folk singing with which American audiences certainly are not familiar. A simple explanation of what this genre is would have been quite welcome.

Why, even the spelling of the troupe's name differed from city to city. In New York, Cincinnati and Philadelphia, it was Veryovka; in Chatham, N.J., it was Veriovka; while in New Brunswick, N.J., it was Veriovka ... and Veryovka.

The concert programs were not updated, listing works that had been deleted and not listing the ones that were added. An insert could have been printed up, or, at the very least, program changes could have been announced at the concerts.

The original program also contained Russian songs. To be sure, the Veryovka Ukrainian folk troupe might want to show that it can perform works from other cultures, but why always Russian? Why not, say, French, Lithuanian...? Why perpetuate the abundant confusion that Ukrainian and Russian are the same anyway.

At this point, perhaps we shouldn't even mention what was offered for sale to the public: the cheap souvenirs and the poor quality audiocassettes with no listing of recorded selections, not to speak of notes to describe the music.

What a pity that the tour was marred by such carelessness and sloppiness. Especially since, according to audience reaction - mostly non-Ukrainians at the sold-out venue where we were present - Veryovka was a hit. And the next day's headlines in the local paper, complete with a front-page color photo leading readers to a story with another color photo on the inside, reflected the excitement generated by this talented ensemble. If only these cultural ambassadors from Ukraine and their performances had been properly introduced to the American public, the audience would have learned so much more about the Ukrainian people.

What's needed? Sensitivity on the part of professional management agencies and promoters to a nation's heritage, attention to detail, better planning.

Ukrainian authorities, too, should be concerned with how its performing ensembles are presented abroad. Why then have a Ministry of Culture, cultural attaches at embassies, etc.? These entities should take an active interest and play a role in how the Ukrainian culture is promoted.

The question is: Will Ukrainian performing ensembles and Ukraine learn from these mistakes, or will such misrepresentations continue? There's no excuse for them not to learn, and there's no reason for such mistakes to continue.

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